ISSUE 163 - Full bicep adjustment for a grown-on sleeve

THE Q & A SERIES

Full bicep adjustment on dolman sleeves

Hi Emily

I recently read your Q&A on full bicep adjustments which was fantastic, but I now have the problem of how to do a full bicep adjustment on grown-on sleeves or even dolman sleeves. Any tips?

Thanks!

Chloe
Sheffield, UK

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Hi Chloe,

Thanks for reaching out and I’m happy to help.

DO I NEED A FULL BICEP ADJUSTMENT?

This adjustment is needed if a sleeve is too tight around the bicep, or if the fabric bunches up around the bicep. As you can imagine, it’s not too hard to figure out if you need to make this adjustment on a finished garment. You’ll know, either as soon as you put it on, or within a very short period of time while wearing it.

But what if you haven’t actually made the garment yet? 

HOW TO CHECK IF YOU HAVE FULL BICEPS AND NEED TO ADJUST YOUR PATTERN

Firstly, think about your current wardrobe. Is this a problem you’ve experienced with ready-to-wear or other garments you’ve made before? If so, you’ll probably need to do a full bicep adjustment.

However, it’s important to consider the design of a pattern and amount of ease allowed for.

For fitted designs it’s likely that you’ll need to do an adjustment if this is a problem you’ve had before, whereas more generous ease allowances found in relaxed garment styles may mean that you can avoid doing the adjustment entirely. To double check, keep reading!

Measure your bicep and compare it to the bicep measurement of the pattern. Some patterns may specify this measurement, which makes it easy to compare, but if not, measure the sleeve pattern piece, minus the seam allowance and multiply by two.

Hold a measuring tape around your bicep at the length allowed for in the pattern. How does it feel? Is there plenty of room when your bicep is flexed and at rest? If so, you probably don’t need a bicep adjustment.

Still not sure? Keep reading!

Make a toile/muslin to be absolutely certain before sewing the pattern in your ‘good’ fabric. Put the toile on and consider how it feels around your bicep. If you aren’t happy with the fit and think it needs more ease, proceed on to making the actual adjustment, as outlined below. 

HOW TO MAKE A FULL BICEP ADJUSTMENT ON A GROWN-ON SLEEVE

Want to know how to do a full bicep adjustment on a regular sleeve? Check this tutorial out.

When making a pattern adjustment of any kind the first thing you need to think about is what area you need to alter. In this case, the goal is to add width to the bicep area of a pattern. 

Step 1

Mark the bicep line on the pattern. (Your bicep is usually the fullest part of your upper arm.) On a grown-on sleeve you can estimate where this is by holding the pattern up to your body. If you have a toile, refer to that. 

Draw the line from stitch line to stitch line.

Step 2

Measure the bicep width on the pattern and take note of your measurement.

You will need to do the same on the BACK pattern piece and add the two numbers together. Compare this to your actual bicep measurement. 

To find this, wrap a tape measure around your bicep - usually the widest part of your arm. Flex the muscle if you know there is a large difference between your bicep while flexed and at rest. 

Compare the measurements and consider how much ease you would like in the pattern. 

For a relaxed style like the Everyday dress, you will want at least 10cm (4in) ease or more. Alternatively, if you have made a full bicep adjustment on a standard sleeve, you can add the same amount to this sleeve.

Step 3

Now that the bicep is marked, think about what other lines you need on the pattern to make the alteration. It can be helpful to look at the alteration on a regular sleeve to see what’s required and then apply it to the pattern you’re working on. 

For example, if you look at the same alteration on a regular sleeve (above) you can see we also need a vertical line from the bicep to the hem to help us add our width. 

Step 4

Draw a line perpendicular to the sleeve hem that intersects with the bicep line.

Step 5

You’ll also need another line that runs from the intersection point on the bicep line, up to the neckline.

Step 6

From the shoulder, cut down through the bicep line to the stitch line at the underseam. Stop 1-2mm from the stitch line and then cut into the seam allowance towards the end of the cut line to create a small hinge.

Step 7

From the bicep line, cut down the line to the hem. Stop 1-2mm from the hem stitch line and then cut into the hem allowance towards the end of the cut line to create a small hinge.

Step 8

Slide some pattern paper under the pattern piece.

Use the small hinges in the pattern piece to open the bicep line by the desired amount. 

Remember that you will be doing the same alteration to the back so if you are adding 4cm (for example), you need to split this amount through the front and back.

Use the hinge at the neckline to manoeuvre the upper shoulder section to line up with the lower sleeve. Tape the piece in place on the pattern paper.

Step 9

To finalise the pattern piece, you have a few options.

You can mark a line over the alteration as a smooth curve. Join the new sleeve seam to the hem line with a straight line that is perpendicular to the shoulder seam.

As you can see in the illustration, to have a hemline that is perpendicular to the shoulder seam, I needed to cut a little bit of length off the seam. This isn’t an issue as you can see a similar amount of length was added to the shoulder seam when I made the alteration.

Or, an alternative is to draw a straight line through the alteration. As you can see, this will add some width to the hem, so you need to consider if you are happy with this.

If you would like the straight shoulder seam like the original pattern but don’t want any extra hem width, consider taking some width off the underseam as illustrated.

Step 10

Once you’ve made the alteration to the FRONT, you will need to repeat for the BACK. Always be sure to check and true your seams by walking the seams together.

And, don’t forget to add seam allowance back on to the altered sections of the pattern!

To sum up the process of making an alteration to an unconventional pattern piece:

1. Work out what area needs to change and mark a guideline. If you are changing the bust this would mean finding the bust line. In this case, it’s marking the bicep line.

2. Look at how to make the alteration on conventional/traditional shaped patterns and then translate this to your pattern.

3. Mark in additional guidelines to help you slash and alter the pattern. Remember, only cut to the stitch line. It can be helpful to print the pattern piece on a small piece of paper (i.e. print the A0 version as A4) and have a play around to see if the cuts will give you the desired effect. I often do this multiple times until I am happy.

4. Once you’ve made the alteration, do the same to any pieces that are also impacted.

5. Check and true your pattern pieces to ensure everything still matches together.

6. Add seam allowance back on to altered seams.

7. Make a toile to check that you’re happy with the alteration.

Happy fitting!

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Everyday dress pattern can be found here.

• How to do a full bicep adjustment on a conventional sleeve - tutorial here.

• Checking and truing seams - tutorial here.

• Walking seams together - tutorial here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Collins top made by @sheilalovesfabric

Peppermint Wrap skirt made by @sosewemma

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MORE POSTS IN THE SERIES

ISSUE 162 - HOW TO ALTER A PATTERN WITH PANELS

THE Q & A SERIES

HOW TO ALTER A PATTERN WITH PANELS

Hi Emily,

I love this idea. It is so very helpful and generous of you to share all that you’ve learnt and your experience. Very cool.

I have a question about raising the back neckline of the Collins Top. Would you extend the back piece and the back sleeve and sleeve shoulder panel pieces and blend to the front neckline? I’m never sure how to deal with the curve of the neckline. I have discovered I need to do a High Round Back Adjustment on most tops, so I use the Centre Back seam to add length and a curve, but maybe I need to add this to the next seam along too (where the back meets the back sleeve?). Thanks for your help!

Cheers,

Genevieve

Brisbane, Australia

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Hi Genevieve,

We thought this would be a great question to answer this week as we have just released the Elwood dress pattern. 

You’ll notice some similarities between Elwood and our Collins top, because Elwood was drafted from the Collins top. I always had this niggling feeling that I wasn’t quite done with the Collins top pattern, and had revisited it a number of times when experimenting with 3D pattern drafting. 

When our community asked for a signature In the Folds pattern for 2024, I knew it was time to revisit what I’d been working on in Clo3D and bring one of these ideas to fruition. (Check out this blog post if you’re interested in reading more about my Clo3D adventures!)

What this means for you (and any of our other customers thinking about sewing Elwood) is that our fitting tutorials created for the Collins top, will also apply to the Elwood dress. If you’d like to check out some of these tutorials, you can find some links to them below.

Here’s how to:

• Do a full bust adjustment

• Lengthen the panel pieces

• Alter the neckline on a garment with a raglan

• Raise the armhole (View B)

• Lower the armhole

• Do a forward shoulder adjustment

How to make fit alterations to a panelled pattern

When making fitting alterations to a pattern that has panel lines, there are a few things you need to do. This process will allow you to make any alterations you like to a pattern.

Step 1: Mark the stitch line on the pattern

When making pattern alterations the stitch line should be marked on the pattern. All In the Folds patterns have the stitch line marked, and we thought this was just standard in the sewing industry, but turns out it’s not! So what this means is you may need to mark in the seam allowance on the pattern yourself. 

Step 2: Remove panel lines

Place pieces together to temporarily remove the panel lines. In the case of the Collins top, this means joining the SHOULDER PANEL piece to the BACK SLEEVE. This is when your stitch lines come in handy because you need to position your pieces stitch line on stitch line as if the pieces have been sewn together. This doesn’t mean we’ll be losing our panel lines, just that we’re removing them to make the alteration easier to manage and then we’ll bring it back. Hold the pattern pieces together with tape or pins… something that won't rip your pattern piece or be too hard to remove.

Step 3: Make the alteration

In this case we’ll be drawing a horizontal line through our back piece, towards the neck, and through the similar area on the sleeve pieces. On the sleeve I have marked the alteration line perpendicular to the back sleeve grainline.

Add the amount required. This is when having a toile to refer to is very helpful. Or, if this is an alteration you regularly have to make, then you might have a good idea how much is required.

Step 4: True the lines

“Truing” your lines means that you need to draw a smooth line over the alteration. This takes some practice, so be sure to use a pencil. I like to use a transparent ruler and pivot it to create a nice smooth curve (similar to the way I add seam allowance on a pattern), but you may prefer to use a French curve.

Step 5: Add your panel lines back in

If you have joined any pattern pieces together to make the alteration, mark the panel lines back in. Do this the same way as how you trued your lines. You want the lines to be as smooth as possible.

Step 6: Finalise the pattern piece

To finalise the pattern pieces you will need to add seam allowance onto the areas that have been altered.

For pieces that have been joined, trace the altered pieces onto pattern paper, then add seam allowance on. When tracing a pattern, be sure to always transfer the notches and the grainline.

Step 7: Check the pattern pieces

Walk the seams to check that everything fits together nicely and that none of the notches have moved. By doing this you are checking that seams that you will be joining together are the right length, so you don’t get any nasty surprises at the sewing stage. You also need to check that you have smooth lines. For example, in the diagram I am checking that the neckline is still a nice smooth curve. If you realise that the line is no longer smooth, smooth it out and use a tracing wheel to transfer the new line onto the overlapped paper.

Step 8: Make a toile

It’s always a good idea to make a toile to check a pattern alteration you’ve made. In the case of this alteration, you may also want to check if you need more shaping through the back. To do this you can get someone to help you and pinch our excess fabric through the back seams.

As with any pattern alteration, the important thing is to take it one step at a time. It’s usually when we’re rushing that we make mistakes, so I recommend working through the process bit by bit and having a practise before you start chopping into your good fabric!

Happy Elwood and Collins sewing!

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Elwood dress pattern is currently available with a Curated by ITF subscription for the month of February 2024. More information can be found here.

• The Collins top pattern can be found here.

• Fitting tutorials that relate to the Collins top can also be applied to the Elwood dress. They can be found here.

• How to make a toile - post can be found here.

• Checking and truing seams - post can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Hacked Rushcutter top made by @fabric_scraps

Sawtell dress made by @maker.baker.girl

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MORE POSTS IN THE SERIES

ISSUE 161 - HOW TO MANAGE A GROWING WARDROBE OF HANDMADE CLOTHES

THE Q & A SERIES

HOW TO MANAGE A GROWING WARDROBE OF HANDMADE CLOTHES

From all your makes do you ever feel like you have too many clothes? What do you do about storage and do you wear all your makes regularly? Do you ever get rid of your older makes that no longer work for you?

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This question came up in our private, online Curated by ITF community this week and it got such great interaction that we thought we’d share everyone’s comments with you today!

For most makers, having a full wardrobe is definitely not an unusual ‘problem’. And we use the word ‘problem’ very carefully because the concept of sewing as a form of self-care is known and very much appreciated in the creative community.

the benefits of sewing : more than just clothing

The benefits we get out of making are so much more than just having clothes to put on. Making gives us the opportunity to take a break from day-to-day life. When the rest of our life happens at break-neck speed, sewing allows us to focus on the task at hand and to be mindful and meditative.

Sewing motivates and challenges us. It gives us the opportunity to continue to learn and solve problems once we’ve finished studying for our profession. It teaches us resilience, because it doesn’t matter how long we’ve been sewing for, there will always be moments when our makes just don’t go to plan.

And one thing we know for sure, because we see it everyday with our Foldies in our Curated by ITF community, sewing provides an opportunity to connect with others who share our love for the craft. And we think this is probably the best part of all!

So with all that in mind, here are some ways our Foldies manage a growing wardrobe of clothes!

Charity shop donations

If you’re getting stressed about your expanding wardrobe, consider gifting any unworn makes to your local charity shop. One of our clever Foldies likes to help the volunteers out by including a little tag that includes the size of the garment and the fabric content. 

Gift to family and friends

If you’ve been sewing for a while then it’s likely that you’ve had a friend or family member comment positively on a garment you’ve made. Try to remember if anyone has admired the garment you’re wanting to move on and wrap it up as a little pressie for them. 

If you’ve decided you definitely need to slow down or stop making clothes for yourself for a while, but you’re also thinking about your growing fabric collection, consider loved ones you can make gifts for. By making clothes for others, you’re filling your sewing cup, practicing fitting on other people and emptying your fabric stash at the same time! Win, win, win!

Only make garments you need and really, really love

If you have trouble handing over garments you’ve poured your heart and soul into, you’re not alone! In this case, being more selective in the garments you choose to make can help. Try not to be influenced by trends or the latest patterns. Instead, take a look at your wardrobe and think about the garments you always go back to over and over again. Why is this the case? Is it the fabric? The colour? The cut? The style? Where are the gaps in your wardrobe? Our Slow Sewing Planner is a helpful tool to have when working through this process. 

@sewingwithkate wearing her original Rennie dress

@sewingwithkate wearing her refashioned Rennie dress

Refashion garments to make them more wearable

Sometimes it’s not until after we’ve made something and tried it on or worn it a few times that we realise it just doesn’t suit us. In these situations it can be helpful to consider whether there’s any little changes you can make to a garment to improve it. 

Take it in if it’s too baggy. Turn a dress into a skirt and top. Take up the hem or let the hem out.

The pattern instructions may say you’re finished, but your imagination doesn’t have to! Take the opportunity to try something you may not have thought of before.

Reuse the fabric in another garment

Depending on the garment size, take the time to cut off all the seams so that you have as much usable fabric as possible. Return what fabric you have left to your fabric stash to be used in another make in its entirety or for pocket bags, facings, or making bias bind. 

One-in-one-out

If you’re making a new garment, commit to donating the least favourite alternative already in your wardrobe. If you decide you love everything in your wardrobe, adopting this approach may help curb the impulse to make something new!

It’s important to find balance with everything we do, including the garments we sew and the hobbies we have, so we hope this post helps you if you’ve been struggling with an expanding wardrobe full of beautiful me-mades!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• Curated by ITF is our sewing subscription and private, online community. Join now to get a new project each month to stop pattern-stashing and start skill-building!

• Our Slow Sewing Planner helps you gain clarity on what’s missing from your wardrobe, as well as sustainable tips for organising what you already have.

• Our Rennie dress pattern is a boxy, relaxed fitting calf-length dress made for easy dressing that incorporates a range of finishing techniques for a beautifully finished garment. This pattern will elevate your wardrobe and sewing skills!

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Peppermint Wrap top made by @phantosmia_

Barkly skirt made by @mamasuesews

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MORE POSTS IN THE SERIES

ISSUE 160 - HOW TO TRUE A DART

THE Q & A SERIES

HOW TO TRUE A DART

Hi there,

Just wondering if you can help me with what I need to do to a pattern after I’ve added in a dart. I can’t quite wrap my head around how to make the points on the seam edge that you see on patterns…

Thanks,
Janice

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With the release of our Marden shirt Hack Kit this month (part three of our Sewing Shirts Series - check out part one and part two), we thought this was a timely topic to address.

Sometimes when you’re learning a new skill there’ll be strange words and techniques to learn that won’t mean anything to you at first and this may be one of those times!

If you’ve got no idea what it means to true a dart, but you’re keen to learn, you’ve come to the right place!

But let’s start at the beginning…

When you first start learning the skill of pattern making, it’s helpful to remember that your aim is to turn a flat object into something with shape and curves.

To do this, we have to manipulate fabric by folding or gathering it, essentially tucking excess fabric into seams in one area (which are then stitched in place) in order to create shape or volume in another area.

what is a dart?

Darts are one approach garment designers use to make something two dimensional (like fabric) fit around something three dimensional (your body).

Although they are most commonly used to create shape around areas of the body that are curved, such as the bust, shoulders, elbows and waist, they can be used pretty much anywhere, whether purely for fit or as a design detail.

WHAT IS DART SHAPING AND WHY DO WE NEED TO THINK ABOUT IT?

You may have put a dart in a garment before and noticed that it changed the shape of the seam that it lies on and it’s no longer the smooth line it once was. We don’t want to just leave it like this as the additional fabric in that area may affect the fit and finish of the garment.

So, we add something called dart shaping. Dart shaping is a technique used to manage the extra fabric that’s been added into a garment and ensure that once the dart is sewn, the seam it's on will remain a nice smooth line, which ultimately means we’ll get a nice clean garment finish (something we love at In the Folds!).

how to add dart shaping

Note that in the example above, we have added seam allowance to all seams except for the side seam. We cannot add seam allowance to the side seam until we have trued the dart and added dart shaping.

Be sure to leave excess paper on the seam with the dart, as we will need this for the dart shaping.

STEP 1

Take the pattern piece that requires dart shaping.

Fold the dart so you can predict what will happen to the shape of the seam when you sew the dart from the fabric.

Think about which direction the fullness of your dart will be pressed once it is sewn. This will decide which dart arm you need to fold. Generally, vertical darts are pressed towards the centre front (in the case of front darts) and the centre back (in the case of back darts). For horizontal darts (like the one pictured), the bulk of the dart is pressed down.

Tip - You will be using a tracing wheel in the following steps, so it’s a good idea to slide a cutting mat under the pattern so you don't damage your table.

STEP 2

Folding a dart on a flat surface is not possible, as we are making a two dimensional pattern three dimensional.

Place the tip of the dart on the corner of a table (or a large book also works) and fold the lower dart arm so that it meets the upper dart arm.

As you can see in the example, the side seam line doesn't match up on either side of the folded dart. We will correct this before marking the dart shaping. 

Hold the folded dart in place with a pin or pattern weight.

STEP 3

Take a ruler and draw a straight line from the top of the side seam, down to the hemline. This is the new side seam STITCH LINE. If the seam had previously been a curve, you would draw in a smooth curve.

STEP 4

Use a tracing wheel to transfer the new side seam STITCH LINE onto the folded section of the dart. This will give you the shaping you need for the dart.  If you don't have a tracing wheel, poke small holes along the stitch line using a stiletto, pin or similar.

STEP 5

Add seam allowance to the side seam. Use a tracing wheel to transfer the seam allowance line onto the folded section of the dart.

STEP 6

Unfold the dart. You will see the dots made by the tracing wheel. Take a ruler and join the dots to form a nice smooth line.

STEP 7

Add notches at the side seam by extending the dart arms through the seam allowance. Mark notches.

video - truing a dart 

If you’re someone who learns by watching, take a look at this video where I walk you through the process of creating dart shaping.

Happy patternmaking,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Sewing Shirts Series is a three-part series that includes the Sewing Shirts Skills Kit, the Marden shirt pattern and the Marden shirt Hack Kit, which are available through our Curated by ITF subscription. Past issues are now available for purchase by current subscribers.

• The Neale top pattern is a hack from the Neale jumpsuit Hack Kit, which can be purchased by current members of Curated by ITF as a Past Issue here.

• Video - Dart shaping - can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Acton dress made by @alyant79

Neale jumpsuit hack made by @thatsewannabel

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MORE POSTS IN THE SERIES

ISSUE 159 - FORWARD SHOULDER ADJUSTMENT ON A CURVED SHOULDER SEAM

THE Q & A SERIES

HOW TO DO A FORWARD SHOULDER ADJUSTMENT ON a CURVED SHOULDER SEAM

Hey Emily,

How do I do a forward shoulder adjustment with the sloped shoulder on the Marden shirt???

Suthi, Curated by ITF member

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One of the features we love about the Marden shirt is that smooth, shaped shoulder.

And even though some members of our Curated by ITF community weren’t sure about it at first, we were quietly confident that once they made the shirt and put it on, they’d fall in love with it.

And we were right! (See Exhibit A below, a conversation thread from our private Curated by ITF online community.)

Sue’s Liberty Marden shirt in View B.

Lynn’s linen Marden shirt in View A.

But if, like some of our Curated community members, one of your go-to fitting alterations is a forward shoulder adjustment (FSA), the curved shoulder line may leave you scratching your head. So we’ve come to your rescue with the answer you’re seeking!

Not sure what a forward shoulder adjustment is? Read this tutorial.

how to do a forward shoulder adjustment on a curved shoulder seam

As a quick overview, what we’re going to do is remove the shoulder shaping, make the FSA as we normally would and then add the shoulder shaping back on.

Let’s go!

STEP 1

Draw a straight line through the shoulder STITCH LINE, intersecting with the armhole and neckline at each side on the FRONT and BACK.

STEP 2

Cut along the lines marked in STEP 1 and label as ‘FRONT SHOULDER’ and ‘BACK SHOULDER.’

STEP 3

On the FRONT, mark the amount you would like to move the shoulder seam forward by. For example, if you need to move the seam 2cm (¾in) forward, draw a line 2cm from the cut line. (Not sure how much you need to move the shoulder seam by? Read this post.)

Cut along the line and label the side that’s close to the NECK so you get the piece around the right way when you join it to the BACK.

STEP 4

Stick the piece cut from the FRONT onto the BACK. You may need to add some paper behind the piece to make it easier to attach it accurately. Attach the BACK shoulder shaping back on.

STEP 5

Smooth out the stitchlines around the armhole and neckline where the adjustments have been made.

STEP 6

Attach the FRONT shoulder shaping back onto the FRONT. Smooth out the armhole and neckline (if required).

STEP 7

Line up the FRONT and BACK neckline at the shoulder to check the flow through, and adjust if necessary. Read this post about checking and truing adjustments when patternmaking.

STEP 8

Line up the FRONT and BACK neckline at the armhole to check the flow through, and adjust if necessary.

And that’s it! It’s not as scary as it seems. I hope this helps you get your Marden shirts to fit perfectly.

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Sewing Shirts Skills Kit and the Marden shirt pattern are the first and second parts of our Sewing Shirts Series, which is available through our Curated by ITF subscription. Past issues are now available for purchase by current subscribers.

• How to do a forward shoulder adjustment - blog post here.

• How to check and true sewing patterns - blog post here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Sawtell dress made by @catford_quilters

Rushcutter dress tunic top made by @mamasuesews

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MORE POSTS IN THE SERIES

ISSUE 158 - HOW TO LOWER THE COLLINS TOP ARMHOLE (VIEW A)

THE Q & A SERIES

HOW TO LOWER THE COLLINS TOP ARMHOLE

Hi Emily,

I would like to lower the armhole on the Collins top with sleeves. I found a tutorial on the sleeveless version but could not find one for the version with sleeves.

Could you help me please?

Thank you so much in advance!

M

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Hi there!

We love it when our customers ask us how to customise their makes to fit their own unique bodies and measurements. We also know how uncomfortable it is when a garment cuts in under the arm, so we’re very happy to be able to answer this question!

HOW TO CHECK IF YOU NEED TO LOWER THE ARMHOLE

Before we get started, I think it’s worth checking that you are sure this is the alteration you need. I raise this, because this same fit issue could be caused by the need to add length between the shoulder and the bust line. This adjustment also lowers the position of the armhole and could correct the problem.

The best way to work out if you need this adjustment in a garment is to check where the dart is sitting. If it's sitting too high then that's a pretty good indication that length is required. If not, then you're right and just lowering the armhole should do the trick.

In the case of the Collins top (which doesn’t have a dart) I would say to consider your wardrobe in general. Do you often have problems with armholes cutting in? If so, then it’s likely that you need to add length between the shoulder and bust line, rather than lower the armhole specifically.

Some of our Curated by ITF members have realised, through the process of learning to fit clothes specifically to their unique body measurements, that this is a consistently needed adjustment, and it has become one of their standard adjustments when making clothes for themselves.

If the problem of armholes cutting in is not a common issue for you, then read on!

HOW TO LOWER THE ARMHOLE ON THE COLLINS TOP (VIEW A)

Because of the puzzle element of the Collins top (which happens to be one of most loved parts of this pattern!) we know it might feel a little daunting to attempt fit alterations, but as with anything, if you just take it step by step, you’ll have no trouble at all.

Here you go!

STEP 1

Pin or tape (with something that is easily removed) the SIDE FRONT PANEL to the CENTRE FRONT PANEL as if they have been joined.

On the side seam STITCH LINE, mark the amount you would like to lower the armhole by.

STEP 2

Redraw the armhole with a nice smooth curve, joining the point marked in the previous step. Keep the line as similar to the original as you can and meet the side seam at a right angle.

STEP 3

Line up the sleeve panels, STITCH LINE on STITCH LINE as if they have been joined and pin / tape in place. Mark in the bicep line (red line), which runs from the top of the underseam on the front through to the underseam on the back. Take half the measurement you used in STEP 1 and lower the bicep line by this amount (blue line).

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OUR CUSTOMERS LOVE THE COLLINS TOP FOR ITS SATISFYING PUZZLE-LIKE CONSTRUCTION

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STEP 4

Re-draw the armhole lines with a smooth curve.

STEP 5

Walk the front sleeve into the front armhole, STITCH LINE on STITCH LINE, starting at the neck side of the line.

It is likely that the STITCH LINE on the FRONT SLEEVE is not long enough to reach the end of the armhole curve due to the alteration.

Measure the distance between the sleeve STITCH LINE and the side seam on the SIDE FRONT PANEL. This is the amount that needs to be added to the FRONT SLEEVE.

STEP 6

Add this amount to the sleeve curve and then join to the hem STITCH LINE.

If it is a large alteration and the shape of the sleeve underseam is going to change drastically, we suggest also adding some width at the hem to keep the shape of the piece intact.

STEP 7

Now, repeat the same alteration for the back pieces, then check the front and back side seams line up nicely at the top and bottom of the seam.

Add seam allowance to the new lines (red) and cut away any excess.

Happy fitting!

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Collins top pattern can be found here.

• Adjusting length above the bust - blog post here.

• Checking patterns: Curved seams - blog post here.

• How to add seam allowance to a sewing pattern - blog post here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Attwood pants made by @mamasuesews

Wide leg pants made by @hauntedthimble

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MORE POSTS IN THE SERIES

ISSUE 157 - EXPERIMENTING WITH INTERFACING

THE Q & A SERIES

experimenting with interfacing

Hello, I’m new to your site & love the idea of asking a question and getting a helpful answer.

My question is, when using iron on interfacing in a collar or cuff should the interfaced side be outermost or on the underside? And if on the underside, how do you get over the seam allowance (that’s been graded) showing through light weight fabric? I look forward to finding out the right way, thank you.

Alison, UK

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Hi Alison!

We’re very glad you’ve found us, and we’re happy to help.

Interfacing is a scary topic for many sewists. When things go well, it is a wonderful thing and can help us create beautiful finishes and looks in our garments. But when things don’t go so well… well, it’s likely that you’ve had a run in with interfacing at some point in your sewing journey (as have the majority of us!) and you’ll know first hand how frustrating it can be to work with.

We wrote a post about what you need to know about interfacing just recently, as it’s an important part of shirt-making, the topic we’re currently focusing on in our sewing subscription, Curated by ITF. This month we’re moving onto the second part of the series, the Marden shirt pattern!

NEW SEWING PROJECT? TIME TO TEST YOUR INTERFACING AND FABRIC!

When it comes to advising about which side of a collar or cuff to interface, it really depends on the fabric and interfacing you’re planning on using for the garment. Which makes it almost impossible for me to provide a definitive ‘do this in all scenarios’ answer (sorry!).

But, I’d start by encouraging you to experiment with the interfacing and fabric you have in mind for your project, particularly when sewing with lightweight fabric. (More on how to do this here.)

Consider the look of the fabric once the interfacing has been fused to it. Is it very obvious and visible through the fabric? Does it negatively impact the look of the fabric, or does it just provide the structure that is needed?

In general, I block fuse both sides of the collar and cuffs. So that's normally what I'd test out first.

As you have mentioned, you may decide that you would prefer to fuse only one of the pieces, rather than the pair. If you're wanting a more relaxed look, you'll generally only fuse the undercollar. This allows the fabric on the top collar to look like the rest of the shirt.

However, if you are using a fabric that is so lightweight it is transparent, then I'd likely be fusing the one that will be on the outside when worn (i.e. the top collar). As you may guess, this is to prevent the seam allowances showing through the collar. If, however, you’re not happy with the finish of the fabric once the interfacing is applied, you may also consider experimenting with using a lightweight cotton as a sew-in interfacing instead.

Hope this helps, and good luck in your interfacing experimentation!

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Sewing Shirts Skills Kit and the Marden shirt pattern are the first and second parts of our Sewing Shirts project series, which is available through our Curated by ITF subscription. Past issues are now available for purchase by current subscribers.

• What you need to know about interfacing - blog post here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Collins top made by @apple_franca

Hove jacket made by @janice.makes

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MORE POSTS IN THE SERIES

ISSUE 156 - HOW TO GET BUTTONHOLES RIGHT

THE Q & A SERIES

HOW TO GET BUTTONHOLES RIGHT

Hey Emily,

Do you have any tips please for buttonhole spacing & getting the buttons to sit flat on the fabric?

Thanks,
Sheila, Hobart

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Hi Sheila,

Buttonholes can be tricky, hey.

There’s so many elements involved in getting them right… the spacing, the stitching, the cutting, the button sewing… And so much that can go badly wrong. (We’ve all experienced the fear of accidentally cutting right through the buttonhole stitching!)

With our Sewing Shirts Skills Kit for this month’s Curated by ITF project we cover everything you need to know, such as how to create a button template, how to mark button placement and how to sew buttons on correctly, but here’s a few tips that may help.

HOW TO MARK BUTTON PLACEMENT

There are a number of different methods you can use to transfer the button and buttonhole placement markings to your shirt. The most common are: 

• Mark the positions directly onto the finished button placket. 

• Mark the buttonhole positions on the placket pattern piece and use this to transfer the markings to the pattern.

• Make a button template.

The most common method is marking the positions directly onto the finished button placket. This gives you flexibility when deciding on button position and allows you to see what the buttons will look like before sewing the buttonholes.

BUTTONHOLE SPACING

When marking button placement, start by marking the top button position. It will be placed closer to the top of the placket than the regular button spacing as it supports the collar stand. We recommend anywhere from 1.5cm (⅝in) - 5cm (2in) down from the top edge. 

Mark the remaining button positions 9cm (3½in) from the top button. For the bottom button, keep in mind that you don’t want it to sit too close to the hem and normally there is a larger space between the bottom button and the hem than between the other buttons..  

Tip! We like to take inspiration from our favourite garments that are already in our wardrobe and we recommend you do the same! Take some time to have a look at the shirts you love to wear and use a measuring tape to replicate the placement on the garment you’re making.

TAILOR BUTTON POSITION TO YOUR BODY

Because you’re making the garment, remember that you can put the buttons wherever you want, according to the needs of your body. To do this, try on the shirt and close the button placket. Place a horizontal pin at the bust line through the top placket only. This is the position where the shirt is most likely to gape. Take the shirt off and space the buttons evenly along the placket starting from the pin. Remember to leave a space at the bottom and ensure the top button is about 1.5cm (⅝in) - 5cm (2in) down from the top edge.

TIPS FOR SEWING BUTTONS

We’ve included a step-by-step tutorial for how to sew buttons onto a garment (specifically a shirt) in our Sewing Shirts Skills Kit, which you can access by joining Curated by ITF, our sewing subscription. 

Otherwise, the main things to keep in mind are:

• Before sewing a button in position, place a pin, needle or matchstick across the button and make your stitches over it. This will create some extra give in the thread for when you’re creating the shank under the button.

• Be sure to use interfacing on your button placket as this will help give the area structure. If for some reason you choose not to use interfacing on the whole placket, cut a small circle of interfacing and fuse where the button will be stitched to create stability.

• Select a button that isn’t too heavy for the fabric you are using. This may take some experimenting on samplers.

• Use the same number of stitches on each button to keep things consistent. 

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Sewing Shirts Skills Kit is the first part of our Sewing Shirts project series, which is available through our Curated by ITF subscription. Past issues are now available for purchase by current subscribers. More information can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Ruffle sleeve top made by @apple_franca

Hove jacket made by @janice.makes

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MORE POSTS IN THE SERIES

ISSUE 155 - WHAT YOU NEED TO KNOW ABOUT INTERFACING

THE Q & A SERIES

WHAT YOU NEED TO KNOW ABOUT INTERFACING

Fusible interfacing seems to ruin everything I make with it. After washing it looks rumpled and horrible. Everyone seems to love it so I must be doing it wrong. HELP!

Jamie, Costa Mesa

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Hi Jamie,

You’re definitely not the only maker out there who feels this way about fusible interfacing, because it’s one of those areas where things can go wrong very quickly. 

We’re looking at interfacing this month as part of our Sewing Shirts Skills Kit project for Curated by ITF. Interfacing is an important component of shirt making (and garment sewing in general) and so it’s definitely timely that we answer this question for everyone.

WHAT IS INTERFACING?

Interfacing is an additional layer that is applied to fabric to create structure in a garment. It is also used to ensure certain areas of a garment hold their shape or can support a particular part of a garment. Finally, it can be used to reinforce high stress areas of a garment (for example, buttons and buttonholes). 

Interfacing is applied to the wrong side of the garment so is not visible once the garment is assembled. The most common parts of a garment to use interfacing are: collars, cuffs, button plackets and waistbands. But, it may also be used on facings or around pocket openings for extra support or reinforcement.

TYPES OF INTERFACING

There is a wide range of interfacing available, but generally there are two main types of interfacing that you would be aware of.

Iron-on (or fusible) interfacing

This has a thin layer of glue on one side and needs to be bonded with the fabric using an iron or fusing press.

Most garment makers would predominantly use fusible interfacing, however there are some applications where it isn’t appropriate, such as:

• Fabric that can’t be ironed, such as sequins, anything with a nap (velvet or fur), vinyls or metallic fibres.

• Very sheer fabrics

• Anything with a loose or open weave (eg. mesh, lace)

• Fabrics that are heavily textured as it may not bond well.

Sew-in (or non-fusible) interfacing 

This type of interfacing is not bonded to the fabric, rather it is attached by sewing it to the fabric. It is most commonly used when you are using a fabric that cannot be pressed or has a texture that you would like to avoid pressing. Fabrics, such as stable cotton, can be used as sew-in interfacing and is something you can also experiment with!

Within these two main types, interfacing can be further categorised by the way it’s made:

Non-woven interfacing

Made by bonding the fibres together, non-woven interfacing has no grain and can be cut in any direction without fraying which makes it very easy to use. However, it can be quite delicate and tear easily, yet at the same time it can be quite stiff with a paper-like quality. For this reason, we believe it is better suited to craft projects and bag making.

If you’ve purchased interfacing before, it’s likely that you’ve purchased non-woven as it’s readily available and tends to be one of the cheaper options. 

Woven interfacing 

Constructed in the same way as woven fabric, woven interfacing behaves and moves like woven fabric, so it’s the best choice when working with woven fabric as it is less likely to affect its drape. 

Like woven fabric, woven interfacing has a grainline so pieces need to be cut on grain (in relation to the grainline on the pattern). The benefit of woven interfacing is that it is able to move with the fabric, and is less likely to affect the drape and fall of a fabric.

Knit interfacing

Knit interfacing has some crosswise stretch and minimal lengthwise stretch so that it can add stability and support to knit fabric. Knit interfacing can be used on woven fabrics and can be a good option on lightweight fabrics that naturally stretch and have drape.

INTERFACING WEIGHTS

Interfacing also comes in multiple weights - light, medium and heavy. When choosing the weight of the interfacing, it is a good idea to select an interfacing that is the same weight or lighter than the fabric you are using. Lightweight woven interfacing will be most commonly used for garment sewing.

EXPERIMENTING WITH INTERFACING

Before selecting interfacing for a project, it is a good idea to experiment with different options on the fabric you plan on using. 

We recommend you cut swatches of fabric (approximately 10cm x 10cm / 4in x 4in) and fuse the interfacing to the wrong side. Label each one with the interfacing you used. To compare, pin them to a noticeboard or onto a mannequin on one corner so you can see how they drape. Fold each piece in half and feel how it feels when it is doubled, as this is how it will feel on a collar or cuff (if you choose to fuse both sides of the collar or cuff).

TIPS FOR WORKING WITH IRON-ON INTERFACING

There is a lot of conflicting information out there about how to apply interfacing. Don’t use steam. Use LOTS of steam! Use a damp cloth. Don’t use a damp cloth…

Thankfully, there are places we can go to benefit from other people’s experience, like this interfacing focused Sewing Pattern Review thread. 

We recommend that you start out following the manufacturer’s instructions, and then trouble-shoot if you’re still having problems. 

Here’s a few tips!

1. Use high quality interfacing. The difference is noticeable!

2. For light coloured fabrics, use white interfacing. For dark coloured fabrics, use black or grey interfacing. It's handy to have some of each colour in your stash.

3. Prewash your fabric so that it doesn’t shrink when you fuse the interfacing with heat. This may be what is causing your interfacing to bubble as the fabric will shrink but the interfacing won’t.

4. Cover your ironing board with a large piece of scrap fabric or calico. This will protect it from the interfacing adhesive.

5. If piece fusing, sandwich the interfacing between two layers of paper and then cut out the pattern piece/s. This will ensure the interfacing does not stretch and the pieces are cut accurately.

6. Before fusing your interfacing, always check which is the right and wrong side. The right side is smooth and the wrong side (the side with the glue that attaches to your fabric) is bumpy. If you look closely you can see the small glue dots on the wrong side.

7. Cut the interfacing slightly smaller than the piece of fabric you are interfacing. This will prevent the interfacing going beyond the edges and ending up on your ironing board (or scrap fabric).

8. Start with your iron on a low setting and work your way up until the interfacing fuses to the fabric without burning.

9. Place the iron down onto the interfacing without dragging across the interfacing. Press to fuse one section and then lift the iron and put it back down on the next section. This will prevent the interfacing from stretching or moving into the incorrect position.

10. When the interfacing is fused to the fabric, turn the fabric to the right side and press (you can drag the iron across once the interfacing is attached).

Side note: We know that in the home sewing industry it is often recommended to use a damp press cloth when fusing interfacing to fabric. This approach is not used in the professional garment sewing industry and it isn’t the approach we use ourselves, but we recommend following the manufacturer’s instructions if that is what is advised.

I hope this helps, Jamie!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Sewing Shirts Skills Kit is the first part of our Sewing Shirts project series, which is available through our Curated by ITF subscription. Past issues are now available for purchase by current subscribers. More information can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Peppermint Wide Leg pants made by @crookedpins

Collins top made by @fionamakes

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MORE POSTS IN THE SERIES

ISSUE 154 - HOW TO MAKE A FLAT BUTT ADJUSTMENT

THE Q & A SERIES

HOW TO DO A FLAT BUTT ADJUSTMENT

Hi Emily, 

I absolutely LOVE the Q&A series!  Finding you and In The Folds has been a game-changer in my sewing journey! 

One question which I'm struggling with finding much information about is how to do a 'flat seat' adjustment. I understand that a wedge needs to be taken out from the back crotch seam, but how is that actually done? 

Appreciate any guidance you can give!

Thanks, Kimi
New Zealand

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Hi Kimi!

Thanks for your question! Firstly, because I know this is a question that many people out there will love to get an answer to as well, but also because making clothes that fit is one of the foundations of In the Folds. Nobody wants to spend hours of their time (not to mention the money!) sewing clothes that don’t fit the way you want them to. And the thing is, with a little practice, these skills can quickly become second nature and just another normal part of your sewing process.

With the release of our Attwood pants pattern, it’s also a timely tutorial to cover in case someone decides their Attwood pants need a bit of adjusting. 

However, it’s not quite as simple as removing a wedge from the back crotch seam. In last week’s Behind the Scenes post we discussed why we like to use industrial sewing techniques in our patterns, and I think this is another great example of the difference between professional fitting alterations and those you will find in the home sewing world. 

While you might find that taking a wedge out of the back crotch seam gets the job done, it may cause fit issues in other areas and it will probably affect the finished look of the garment. 

So, here’s a step-by-step tutorial for correcting this issue using professional fitting techniques so you know exactly how to do it! And, if you’re interested in learning more pants fitting techniques, check out our Pants Fitting pattern & Fit Kit.

HOW TO TELL IF YOU NEED A FLAT BUTT ADJUSTMENT

Also known as a baggy butt adjustment, you’ll know you need to make a fit adjustment to your pants because you’ll notice excess fabric in the back of the pants. You could even say that the back may look a little deflated and saggy.

You can check this easily by standing in front of a full length mirror, using another mirror to look at the back of your garment while being worn. Try to avoid using only one mirror to do this because turning your torso to look in the mirror will cause the garment to twist and will not give an accurate representation of the fit.

If the back is baggy and has too much fabric (Image 1), we will pinch out fabric vertically and evenly throughout the back leg and then add in any extra fabric that is needed at the waist.

PREPARE TO MAKE THE ADJUSTMENT

While wearing the garment, roughly pinch out the excess that needs to be removed in the butt area. (Image 2, below). You may need someone to help you do this if you’re trying to fit them on yourself! We’ll remove fabric throughout the whole leg evenly to stop the pattern from skewing. 

Take the toile off and pin out vertically through the whole leg (Image 3), making sure to take an even amount. Unpick side seam at the waist and add in fabric if necessary (Image 4).

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IN THE FOLDS PANTS PATTERNS & RESOURCES

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HOW TO DO A FLAT BUTT ADJUSTMENT

Step 1

a Draw a line from the top to the bottom of the pattern parallel to the grainline roughly in the middle of the pattern. Make sure to avoid the dart. Let's call this line A.

b Draw another line parallel to line A. The distance between the two should be the amount you'd like to remove from the pattern. Let's call this line B.

Step 2 

Add an 'anchor line' perpendicular to lines A and B. This will help you line up the pattern.

Step 3

Cut through line B completely and overlap, aligning line B with line A. Use the anchor line to help realign the pieces. Tape in place.

Step 4

Taking from the pattern evenly means we've also made the waist and leg measurements smaller, so it's likely you'll need to adjust the pattern to add the amount that you took out through the whole leg back to the waist area only to return the waist measurement to the original. We will spread the amount we are adding to the pattern between the CENTRE BACK and the side seam.

i Record the amount you took from the pattern overall, (see STEP 1 b).

ii Divide the amount from (i) by 2 so we can add it evenly on each side.

a Mark in the distance found in ii, out from the STITCHLINE at both the CB and side seam.

Step 5

Re-draw the side seam and CB seam with smooth lines, joining them back to the waist STITCH LINE (a) and CUT LINE (b). Cut off excess paper. Check all seams are the correct length by 'walking' the pattern pieces, as if you were sewing them together.

I hope this helps you get the fit you’re after, and don’t forget to check out our Pants Fitting pattern and Fit Kit for even more in-depth tutorials just like this one!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Attwood pants pattern is the August 2023 project for our Curated by ITF membership, and can be purchased here, or after August by current members in our Past Issues section. More information about the subscription can be found here.

• The Pants Fitting pattern + Fit Kit was released in 2023 as part of our Pants Sewing series. It is currently only available to members of our Curated by ITF subscription, but will be released soon as a standalone resource in our online shop.

• Checking patterns: Curved seams - blog post here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Barkly skirt made by @curwencrowed

Hacked Jersey dress made by @sewingwithkate

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MORE POSTS IN THE SERIES

ISSUE 153 - HOW TO SEW FLAT FELLED SEAMS

THE Q & A SERIES

How to sew flat felled seams

Hi Emily,

I am really loving being a member of Curated. I’m learning a lot and it’s pushed me out of my comfort zone. Something I would like to suggest for an upcoming pattern is flat felled seams. I love the look of them and would love to give them a go. I know I could just try them out myself, but there’s something about getting a push from the monthly project that I know will encourage me to do it. And it’s always fun to do it along with the other ‘Foldies’ too.

Jennifer
Preston, UK

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Hi Jennifer,

I am assuming you’ve seen our shiny new pattern, the Attwood pants, by now! 

We are really excited about this one as it’s our first pattern that includes flat felled seams! We’ve covered French seams and bound seams in some of our other patterns, but never flat felled… so we thought it was about time we rectify that!

What is a flat felled seam?

Flat felled seams are one of the strongest seam finishes. The raw edge is enclosed inside the seam (like French seams), and then it's pressed flat and stitched to keep the seam nice and flat.

When should I use a flat felled seam?

Flat felled seams are suitable for hardwearing items such as jeans and jackets. You will also sometimes use this finish for making shirts. They can also be used as a design feature - as we have done with the Attwood pants.

Types of flat felled seams

There are various ways to sew flat felled seams and we have chosen the method we find the most straightforward. Flat felled seams can be sewn so that the seam is enclosed on the right side of the garment (Option 1) or on the wrong side of the garment (Option 2).

For the Attwood pants, we used the method that has the enclosed seam on the right side of the pants to make a feature of the flat felled seams. If you would prefer the alternative (enclosed seam on the wrong side of the garment), you can construct them that way. We suggest sewing samples of both options to work out your preference.

Flat Felled Seam Option 1 

Seams sewn wrong sides together. Seam allowance is enclosed on the right side of the garment when the seam is complete. This is the method used throughout these instructions.

Flat Felled Seam Option 2 

Seams sewn right sides together. Seam allowance is enclosed on the wrong side of the garment when the seam is complete.

How to sew a flat felled seam

Step 1
Pin the pieces you are joining together with wrong sides together. Stitch with a 1.2cm (½in) seam allowance (or what your pattern specifies).

Step 2
Trim down one side of the seam allowance to 6mm (¼in). The instructions will guide you as to which side to trim down. If sewing a sampler, you can trim down either.

Step 3
Press the seam open with the seam allowance pressed to one side.

Step 4
Turn the wider side of the seam allowance over the narrow side. The raw edge of the wider side should sit about 1mm back from the stitch line. Press well when you are happy with where the edge is sitting.

Step 5
Flip the seam allowance over to the other side of the seam, so that the raw edge is now enclosed in the seam. Press and pin through all layers.

Step 6
Carefully stitch close to the fold to complete the seam.

As you know, Jennifer, we’ll be going through everything with our Curated by ITF online community, so if you have any questions you definitely ask then! (And you’re right… it’s way more fun to do it together!)

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Attwood pants pattern is the August 2023 project for our Curated by ITF membership, and can be purchased here, or after August by current members in our Past Issues section. More information about the subscription can be found here.

• For patterns with French seams, try the Rennie dress, Whitlow robe or Collins top.

• For patterns with bound seams, try the Hove jacket, Flynn jacket or Barkly skirt.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Flynn jacket made by @saritha.sews

Peppermint playsuit made by @sewlike

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MORE POSTS IN THE SERIES

ISSUE 152 - HOW TO ALTER A RAGLAN NECKLINE

THE Q & A SERIES

How to alter a raglan neckline

Hi Emily,

How do I make a raglan neckline smaller? Is it as simple as lengthening each of the four seam lines or is there more to it to maintain the shape?

Katie
Long Beach, USA

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Hi Katie,

Raglan sleeves have been on our mind this month as it’s one of the tutorials included in our Cartwright dress Hack Kit, so we thought this would be a great question to tackle! And the raglan sleeve design has to be one of our favourites. Two of our first patterns ever released included it - the Rushcutter dress and the Collins top!

And I’m pleased to tell you, you are correct! To raise the neckline on a raglan sleeve (which will make it smaller) you need to continue the seam lines to your chosen neckline height.

I wanted to show you this on the raglan sleeve we drafted from the Cartwright dress + top pattern but realised the neckline couldn’t get much higher, so I’ll show you how to lower it first and then add back on… as I realised that someone out there might like to learn how to do the opposite!

How to lower the neckline on a garment with a raglan sleeve

Step 1

First you need to know how much you would like to lower the neckline by. You can work this out by referring to your toile (if you have one).

On the pattern, measuring from the STITCH LINE, mark in your new neckline with a broken line - marking the distance you would like to lower the neckline by.

For my example, we are lowering the neckline by 2.5cm (1in). Mark the new neckline on the FRONT, BACK and SLEEVE.

If you would like to see how we mark a curved line with a broken line you can check out this video.

Step 2

Join the broken line with a ruler or French curve. Make sure your new neckline meets the CENTRE FRONT and CENTRE back at a right angle.

Step 3

Before adding seam allowance, it’s a good idea to line up the pieces, stitch line on stitch line, to check the flow through of the neckline.

Checking the flow through means that you check how a line will look when the garment is assembled. You want lines to transition smoothly across seams with no lumps or bumps.

For more information on checking the flow through, or checking and truing, read this post.

Step 4

When you’re happy with the new neckline, add seam allowance. We suggest using a seam allowance of 1cm (3/8in), although if you prefer sewing a neckline with a seam allowance of 6mm (1/4in) that works too. Cut along the line to remove excess paper.

How to raise the neckline on a garment with a raglan sleeve

To raise the neckline, do the opposite.

Tape or glue some paper onto the top section of each pattern piece, so that you can “grow on” the new neckline.

Extend each STITCH LINE by the desired amount, following the angle of the seam.

Mark the new neckline by marking it at regular increments, measuring up from the original line.

As we did when lowering, it’s a good idea to check the flow through of the lines before adding seam allowance.

How to draft an alternate RAGLAN neckline

While we’re talking about necklines and raglans, I thought it would be fun to show you how to change the design of a raglan neckline - so, rather than just raising or lowering, how to change the shape like in the V-neck raglan neckline above.

Step 1

Place the SLEEVE on the FRONT, stitch line on stitch line, as if it has been sewn. Draw in your new neckline going from the shoulder dart to the CENTRE FRONT.

Step 2

On the dart STITCH LINE, measure down to determine how much you have lowered the neckline at this point. Mark this same amount on the other side of the dart. This will ensure the two sides of the dart meet cleanly when you sew the dart.

Step 3

Place the SLEEVE on the BACK, stitch line on stitch line, as if it has been sewn. Draw in your new neckline going from the point marked in STEP 2 to the CENTRE BACK.

And you’re done! I hope this tutorial gives you the confidence to start altering necklines on raglan sleeve patterns so you can make them exactly how you want them to be!

If you’re interested in learning more about patternmaking and hacking, our sewing membership, Curated by ITF, is the perfect place. With a new project each month, a back catalogue of past issues to keep you busy, support from industry experienced teachers and an inspiring online community you’ll learn everything you need to know to turn patterns into whatever beautifully finished garments you want to wear, and that fit perfectly!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Cartwright dress Hack Kit is part two of a two-part series, featuring the Cartwright dress + top pattern. Both projects are available with a Curated by ITF subscription. The Cartwright dress Hack Kit is the July 2023 project and can be purchased here, or after July by current members in our Past Issues section. More information about the subscription can be found here.

• The Rushcutter dress pattern can be found here.

• The Collins top pattern can be found here.

• How to mark a stitch line on a pattern with a ruler - watch this video.

• How to add seam allowance to a sewing pattern - blog post.

• How to check patterns - blog post.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Rushcutter dress made by @apple_franca

Collins top made by @carly.makesclothes

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MORE POSTS IN THE SERIES

Issue 151 - Tips for sewing a dress

THE Q & A SERIES

TIPS FOR SEWING A DRESS

Hi Emily,

I’m making the Rushcutter dress. Have you any tips? It’s my first dress.

Sonya

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Hi Sonya,

Great to hear you’re giving the Rushcutter dress pattern a go! This was the very first pattern we released and has become an all-time favourite since then.

We’ve got dresses on our minds this month as we just released the Cartwright dress and top pattern in our Curated by ITF membership, and we think they’re a super fun project to make. 

Dresses make great additions to a wardrobe because they’re a complete outfit - no need to think about what other garments go with them! Which definitely makes getting dressed in the morning much easier. I think a dress is also a great opportunity to be a bit daring with your fabric choice through fun prints and bright and bold colours.

My top tips for what to do before making a dress (or any project really!), would be:

READ THROUGH THE INSTRUCTIONS BEFORE YOU START

This will help you prepare and familiarise yourself with the techniques used in the pattern, so that once you get started you have a rough idea of the construction process of the dress will play out. 

The Rushcutter is a good example of the importance of doing this, because it has a particularly fun way of coming together, so even just seeing the illustrations will be helpful. 

Any journey is a little easier when you know where you’re heading, so don’t skip this step!

CHECK OUT THE RELATED HASHTAG ON INSTAGRAM

It’s really helpful to see a design on a range of different bodies, and also to see what fabrics work well for the pattern. Selecting the right fabric for the project is one of the challenges when making your own clothing, so seeing how the pattern looks made up in a particular fabric is always helpful. You can scroll through the Rushcutter dress hashtag on Instagram here.

Also, have a read through this post where we talk about choosing fabric for the Rushcutter dress pattern.

TAKE YOUR MEASUREMENTS FIRST

You should do this before starting any new project so that you can select the correct size/s. We have a blog post that will help you with that process here. 

If you’re looking to take a deep dive into garment fitting, our Curated by ITF membership has a very supportive community with lots of additional resources to help you do this. This month we’re working on the Cartwright dress + top pattern. 

In our Curated by ITF membership our new release patterns are accompanied by a supporting Fit Kit resource that covers how to measure yourself, choose a size and the order of operation for alterations for the pattern it relates to. The Fit Kit also covers a range of alterations with step-by-step instructions and illustrations, as well as patternmaking tutorials that show you handy techniques like adding seam allowance and what you need to do to check your patterns after making alterations.

When we release our designs as standalone patterns (usually 6-12 months after releasing them in our Curated by ITF membership), we make the Fit Kits available for purchase for an additional cost. You can see this with our Sawtell dress pattern which was recently released as a standalone pattern in our extended size range.

MAKE THE MOST OF PATTERN LAYERS

If using the PDF version of the pattern, we suggest taking advantage of the layers in the pattern so that you only print the size/s that you need. If using the paper pattern version, we suggest tracing a copy of the size/s you need so that you can come back to the pattern in the future (this isn't as important with the PDF version as you can always re-print it).

MAKE A TOILE

Also known as a muslin, a toile is basically a draft version of a pattern. The name comes from the fabric often used to make them - muslin (the American name) or toile (the French name). You can read more about it here. 

At In the Folds, we believe making a toile is a really important part of sewing a garment and it’s another step that we don’t recommend skipping. By making a toile you can check the fit and have a practice run of new techniques. It means when you sew the real thing, you can enjoy the process and relax into some mindful slow sewing, instead of worrying about making mistakes and wasting money and fabric.

FOCUS ON WHAT YOU’D LIKE TO LEARN

Making clothes is such a fun hobby and there is so much room for growth and experimentation. It can, however, be frustrating when things don't go to plan, so we suggest focusing on the skills you would like to learn from the project, rather than just the end result of a finished dress. This way you will enjoy the process and have some great new skills under your belt when you're done! 

The skills you’ll learn when making the Rushcutter dress  include sewing: curved seams, pockets (inset or in-seam, depending on the view you choose), buttons or an invisible zip, and bias binding. 

CHECK OUT THE RUSHCUTTER SEWALONG

Our pattern instruction booklets are an exhaustive reference for constructing our patterns, but to help you even more we also have a sewalong for the Rushcutter which includes photos of the construction process rather than illustrations.

We hope you enjoy using the Rushcutter dress pattern and making your first dress!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Rushcutter dress pattern can be found here.

• The Sawtell dress pattern can be found here.

• Check out our Rushcutter dress sewalong here.

• More information about our monthly sewing subscription, Curated by ITF, can be found here.

• Choosing fabric for the Rushcutter dress - read the post here.

• How to print and assemble your PDF sewing pattern - read the post here.

• How to (and why) make a toile - read the post here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Acton dress made by @asideofstitching

Peppermint Wide Leg pants made by @katharinacreates

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MORE POSTS IN THE SERIES

ISSUE 150 - CHOOSING FABRIC FOR THE RUSHCUTTER DRESS

THE Q & A SERIES

CHOOSING FABRIC FOR THE RUSHCUTTER DRESS

Hello In the Folds!

Would you say the Rushcutter dress could be made in a fine cotton corduroy? I’m thinking of running the corduroy horizontally for the side panels. And I’d make it sleeveless to wear turtlenecks under it in the autumn and winter.

Being a “confident beginner” in sewing, but not so confident in fabric selection I’d appreciate your thoughts on if this would be a good fabric choice.

By the way, your patterns are beautiful, and I’m equally impressed with your print materials and the design of your website. Such a beautiful, and elegant approach to design, all the way around.

Thank you!

Amy

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Hi Amy,

Wow! Firstly, thanks so much for your lovely compliments. It’s very nice to receive feedback like this and know that all our hard work doesn’t go unnoticed. The entire In the Folds team really appreciates it!

You’re not alone in struggling to match fabrics to sewing projects. 

It can be tricky, especially when you’re just starting out, but I’m pleased to say that it definitely gets easier over time. Like most things, it just takes practice, and unfortunately a few mistakes! The good thing is that we can learn just as much from the failures as the successes.

Since we’d all prefer not to have to learn the hard way, I’ll share some tips that can help you gain confidence in selecting the right fabric for the project.

Use your wardrobe as a resource

Look at the garments you already have in your wardrobe and think about how they hang, drape and sit on the body. Check the fibre content of the fabric, and think about how they feel. If there is a piece you really love, take it with you next time you are fabric shopping and use it as inspiration!

Of course the above option doesn't work if you shop for fabric online. If this is the case, many independent online fabric retailers will send out samples for a small fee. Order some samples and compare them to the fabrics in your wardrobe.

Our Slow Sewing Planner is a great resource to help you understand your wardrobe choices so that you can then apply the information to the garments you are making. Check it out here!

Shop for fabric at op shops (thrift stores)

This will give you a chance to work with a variety of fabrics whilst also not breaking the bank. It might also encourage you to step out of your comfort zone with your choices.

Follow makers with a similar style / aesthetic to you 

Lots of makers include fabric details with their photos on social media so you can see how the fabric works for a particular pattern and how it looks on the body. Create a folder on Instagram so you can save fabrics and pattern combinations you like.

Search social media hashtags

If there is a particular pattern you like, use the hashtag function to see what fabrics other makers have made it in. If you see a version you like and the maker hasn’t included the details, ask them! As you probably already know, makers love to talk about anything sewing and fabric related. I’m sure they’ll be flattered to hear that you love their make and would like to make one of your own.

You can follow us on Instagram here, and check out the Rushcutter dress hashtag here.

Be willing to make mistakes 

This is a big (and sometimes painful…) one! But, often our best lessons are learned through making mistakes. 

Let yourself explore different options and ideas so you can learn what fabrics work for different patterns. Accept that you’re still going to get surprises sometimes. I have been sewing for about 25 years and still get a surprise every now and again.

Selecting fabric for the RuShcutter dress

We recommend light to mid-weight fabrics such as: cotton shirting, poplin, sateen, linen, silk, light to mid-weight wool, chambray or light to mid-weight denim. 

Your fabric choice will have a big impact on the silhouette you will achieve. For a more structured, boxy look, consider mid-weight denim, twill or jacquard. Or, for a more relaxed, draped look, consider a viscose blend or silk crepe de chine.

Fine cotton corduroy would be a great choice and would be lovely to wear turtlenecks underneath. 

My only other tip would be to select a size that gives you a bit of extra wiggle room in the top area so the underarms don't feel tight with a shirt underneath. Good luck!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Rushcutter dress pattern can be found here.

• The Slow Sewing Planner can be found here.

• Check out our Rushcutter dress sewing tutorials here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Rushcutter dress made by @shuaychong

Barkly skirt made by @sew.n.steady

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MORE POSTS IN THE SERIES

ISSUE 149 - RESOURCES FOR PLUS SIZE SEWING

THE Q & A SERIES

Resources for plus size sewists

Hi again,

Could you talk more about your process of expanding your size range? It's really exciting to see your sizing expand!

A common challenge for plus size sewing is a huge lack of resources around how to draft patterns for larger sizes. It seems this is a problem on an industry level in fashion, schools, etc, as well as for home sewists and indie pattern companies.

Clearly knowledge exists, as clothing and patterns have been made in larger sizes. And more and more RTW and home sewing companies are putting out more sizes.

As far as I am aware, there is no book or central resource explaining how to draft larger sizes. As far as I can tell, it seems like indie sewing companies either have people who have figured out their own plus size block / drafting system and/or have access to industry biometric data. But this assumes they either have specialised knowledge already or access to professional resources that are not available to the average home sewist. Ie. it seems like there's a bit of an information desert.

Did you run into this challenge finding useful information in your size expansion process? Did you come across any useful resources? I am so curious about the process.

Thanks kindly,

Claire

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Note: This is the second part of my answer to Claire’s questions. You can read part one here.

Hi Claire, 

Unfortunately, you’re right - there isn’t a lot of information about drafting patterns for larger sizes that’s easily accessible for the home sewist. As I mentioned in the part one of my answer, there’s not even much that’s easily accessible for pattern designers! 

The indie pattern design industry has significantly contributed to expanding the available resources, so hopefully in time there will be more. In the meantime, here’s what I recommend.

CREATE A PATTERN CAPSULE

The concept of a pattern capsule is one that really excites us at In the Folds, and is part of the foundation of our monthly project subscription, Curated by ITF. 

Similar to a capsule wardrobe, a pattern capsule is where you have a small number of base patterns that you fit to your specific body shape and measurements and then adapt to your taste and style to create new designs.

If you select a pattern from a company that has drafted their patterns specifically for plus sizes, there will be less work for you to do in creating your pattern block. The main thing to remember when looking for a pattern to use as a base is that the pattern must fit you. It may not fit you perfectly straight out of the packet or off the printer (which is the case for most humans), but you don’t want to be grading up or amending issues with the pattern that are unrelated to fit. 

If you’re interested in finding base patterns to start with, this list will be helpful:

• We recently extended our pattern sizes to a hip measurement of 184cm (72.5”) and are releasing all our new patterns in this extended size range. We are also working to update our whole portfolio to include the new size range, but you can view what’s available now here.

• The Curvy Sewing Collective have collated a list of plus size pattern makers and also have a fantastic list of resources for pattern adjustments, fitting tips and pattern reviews. 

• Jess, from Broad in the Seams has a list of plus size patterns. 

• The Fat Friendly Pattern Club has a list of beginner friendly patterns. 

• Muna and Broad patterns are specifically drafted for plus size sewists.

LEARN HOW TO FIT GARMENTS

Learning to fit our own clothes might be daunting at first, but the great thing is that we often need the same adjustments with each garment we sew. So, once you’ve identified the alterations you need to make it gets easier! 

For example, you may find for your body measurements and shape that you need to add length and do a full tummy adjustment, so each time you start on a new pattern you know to specifically check these areas first.

Learning how to fit the clothes you’re making doesn’t have to be an ordeal - there’s lots of resources that can help you do this.

To start with, our Fit Kits help identify the adjustments you need to make to a garment, and then show you how to do each one through illustrated tutorials. For example, our Barkly skirt pattern is available in our full size range and has the Barkly skirt Fit Kit that runs through the most common fitting alterations required for skirts.  (I should also mention that although it was created alongside the Barkly skirt pattern, the tutorials can be applied to most skirt patterns.) 

Ahead of the Curve from Cashmerette is a fantastic book that is described as ‘the first sewing book to empower curvy and plus size sewists to feel body confident by sewing a wardrobe that fits.’ It includes lots of photos that help plus-size sewists identify which adjustments they might need to make to a pattern.

Now that you’ve made the fit alterations on the pattern blocks and you don’t have to worry about doing them over and over again each time you sew a new garment I recommend transferring your base patterns onto card for safekeeping, and then you can move on to the fun part - pattern hacking!

LEARN HOW TO PATTERN HACK

Learning how to sew is simply a matter of skill-building. You learn and practise one skill, and then once you’ve figured it out, you move onto the next skill. Pattern hacking is no different. Once you’ve learned how to fit clothes, learning how to hack patterns into something new is just the next step! It’s just a matter of finding the resources to support you as you learn the skill (which I realise is the problem we’re addressing, but hear me out!).

The methods for hacking patterns into new designs are basically the same, regardless of the size of the intended wearer. Because of this, plus size sewists can make use of the many free online tutorials related to pattern hacking, including those on the In the Folds website.

Because we want our customers and members to become confident sewists we have also created Hack Kits specifically for some of our patterns. In our Curated by ITF membership, we’ve seen how these pattern hacking resources empower sewists to experiment with a range of styles that they may not have considered before, because they’re supported by a resource they can refer to when they have questions.

For example, our Barkly skit Hack Kit includes a range of different skirt styles with lots of techniques relevant to drafting skirts. The added benefit for our Curated by ITF members is that if/when they hit a snag during this process or need clarification about something, they can ask as many questions as they need in our online community and we (or our very clever and supportive community!) will provide the answers.

Thanks for your questions, Claire. I know you’re not the only person who has been frustrated by the lack of size inclusivity in the sewing industries, so I hope this post helps you find some plus size pattern drafting and fitting resources to support you in your sewing journey. Of course, this support can most definitely be found in our Curated by ITF community.

And if you have any further questions, please leave them in the comments section and we’ll help as much as we can.

Happy sewing,

Emily 

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RESOURCES MENTIONED IN THIS ISSUE

• More information about our monthly sewing subscription, Curated by ITF, can be found here.

• Read Part One of this question here - Q&A 148: Our experience in extending our pattern size range.

• The Barkly skirt pattern, Fit Kit and Hack Kit can be purchased as a bundle here.

• How to transfer patterns onto card - read the tutorial here.

• The Curvy Sewing Collective resources can be found here.

• Broad in the Seams list of plus size patterns can be found here.

• The Fat Friendly Pattern Club list of beginner friendly sewing patterns can be found here.

• Muna & Broad plus size patterns can be found here.

• Ahead of the Curve by Cashmerette can be found here.

• View all In the Folds patterns currently in available in our extended size range in our new Skills Library here and view our sizing chart here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Peppermint Wide Leg pants made by @lucia_fl

Peppermint Everyday dress made by @sew.evie

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MORE POSTS IN THE SERIES

ISSUE 148 - OUR EXPERIENCE IN EXTENDING OUR PATTERN SIZE RANGE

THE Q & A SERIES

Our experience in extending our pattern size range

Hi again,

Could you talk more about your process of expanding your size range? It's really exciting to see your sizing expand!

A common challenge for plus size sewing is a huge lack of resources around how to draft patterns for larger sizes. It seems this is a problem on an industry level in fashion, schools, etc, as well as for home sewists and indie pattern companies.

Clearly knowledge exists, as clothing and patterns have been made in larger sizes. And more and more RTW and home sewing companies are putting out more sizes.

As far as I am aware, there is no book or central resource explaining how to draft larger sizes. As far as I can tell, it seems like indie sewing companies either have people who have figured out their own plus size block / drafting system and/or have access to industry biometric data. But this assumes they either have specialised knowledge already or access to professional resources that are not available to the average home sewist. Ie. it seems like there's a bit of an information desert.

Did you run into this challenge finding useful information in your size expansion process? Did you come across any useful resources? I am so curious about the process.

Thanks kindly,

Claire

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Hi Claire,

This is a fantastic question. You’re right - there is definitely an information desert when it comes to resources about drafting patterns in larger sizes. 

When we decided to extend the In the Folds size chart, this was by far the biggest hurdle.

I remember spending hours and hours googling everything I could think of to try and find the resources I needed to extend our size range. Or to find someone who could help us to do it.

the limitations of my fashion design degree with regards to grading for larger sizes

Although I have a Bachelor of Fashion Design and spent 4 years learning patternmaking, we unfortunately learned very little about extending the sizing of patterns. We learned to draft patterns using size 10 pattern blocks and size 10 mannequins.

We briefly learned to manually grade patterns, but never had to use the skill outside of that one lesson. The grading we were taught was an even grade - which means the pattern gets bigger or smaller by the same amount for each size. Although this works to an extent, there is a limit to how many sizes you can grade in this way. For example, if our base is a size 10, we can’t continue to grade the pattern with an even grade up to a size 36. 

the hurdles of extending a size range

To extend our size chart, what we needed to do was create a new base pattern or block, in a larger size. Then the pattern would be graded from there - which would ensure accuracy because the pattern was actually designed for a larger body, rather than just a smaller size pattern getting larger. 

After much googling, I found a company that could help me with extending our sizing. I had a few very interesting and inspiring conversations with the Director there and felt like her and her team really knew what they were doing.

Their team had a set of Alvanon mannequins and used professional 3D pattern drafting software to draft patterns and check them on 3D avatars. But they mainly worked with ready-to-wear brands, so their final products were patterns that would be sent off for commercial use, rather than home sewing.

Commercial patterns are very different to home sewing patterns

After some back and forth with the business we got our first pattern back, and at face value it looked pretty good. We conducted a fitting and there were a few minor issues that I wanted to discuss with the graders. When I started that conversation with the company, I realised that because they didn’t work within the home sewing space, it was difficult to communicate what I needed. For example, the term ‘Full Bust Adjustment’ is standard in the home sewing world, but this is not a commercial term. In industry, patterns are made in set sizes so there is no need for terms like this. Our plan was always to include a larger cup size in our extended range, so being able to articulate this in a way that would translate to our customers, was very important. 

Following some discussion, I realised that we needed to go back to the drawing board and work with a patternmaker that had experience in the home sewing space. Of course, I was disappointed that the first attempt to extend our sizing had been unsuccessful and quite costly, but it gave us a chance to get clear about what we wanted to do and what was most important to us.

I am a perfectionist and do my best to create patterns that are as close to perfect as possible, so it was important that when we eventually did release patterns in our new size range, the quality and accuracy that our customers have come to expect ran through the extended size range too. 

Plus size patternmaking is a specialist skill

My assistant, Alys, had previously worked with a patternmaker who specialised in plus size drafting and grading and I decided to try working with her. I sent off the same pattern as I had done with the other company and explained what we were trying to achieve. I could instantly tell that she understood our vision, but also had the background and technical skills to carry it out. She then sent back an altered pattern to fit our new size chart and it was time to do a fitting! 

Our patternmaker has now become our most helpful resource when it comes to extending the size range of our patterns. The skills required for this particular part of patternmaking are very niche and it is hard to find a specialist in this area who also has an understanding of the home sewing industry. Her knowledge and experience of plus size patternmaking is what has allowed us to continue to extend the sizing of the patterns in the In the Folds catalogue. 

Checking the fit: model or human?

The next step was to find a fit model to check the patterns on, which also proved difficult. I started researching whether we should be investing in an Alvanon mannequin, but at the end of the day knew this would never replace the need for a fit model.

We have a size 10 mannequin that we use for draping patterns and checking things as we go, but this never replaces the need for checking the fit of a pattern on an actual person. We tried to find a fit model with our size 24 measurements through modelling agencies in Sydney, but didn’t have any luck.

Then, we decided to look to our own network and advertised through our Instagram profile and mailing list, but of course received very few applications as most people who sit at the higher end or outside our current size range had no interest in hearing from us.

We had hoped to find someone we could work with in Sydney, but soon realised we were going to need to cast our net wider and put the call out internationally.

Thankfully, we found someone with our exact sample size measurements who was willing to try fit modelling remotely. We all knew it would be a work in progress and we would need to fine tune the process as we went. And I’m happy to say, this part of the process turned out to be a great success and we now have a fantastic relationship with our fit model. She sews the garment and photographs it on her body and answers questions about the fit.  The main thing we have learned is that it’s important to communicate exactly what we are looking for and the questions we have about the fit of the pattern. Being able to work with the same person each time means things remain consistent and we can compare feedback between patterns.

the advantages of a plus size fit model

The main advantage of using a fit model, instead of just a mannequin, is that a fit model can provide context. They can tell you how a garment feels to wear, but can also compare it to other garments (both in ready-to-wear and garments they have made themselves). This was particularly important when extending our size range. For example, our fit model could say “I often find bicep width to be a problem in ready-to-wear, but I don’t have that problem in this sample.” This kind of feedback helps us know exactly what to look for and where plus size grading sometimes goes wrong, in both ready-to-wear and sewing patterns.

an overview of our plus size pattern grading process

The process of grading for our extended size range looks like this:

1. We send our largest size from our size A-J range (size 24) to our patternmaker. She alters the pattern to fit our size 24 block (with D cup bust).

2. We receive the altered pattern back and send it to our fit model to sew and fit. Sometimes we go back and forth a couple of times to make sure we’ve answered all our questions about how the garment fits.

3. We consolidate the feedback and either proceed of send feedback and alterations back to our patternmaker.

4. If required, our patternmaker alters the pattern. If the alterations are large scale, we send the updated version back to our fit model. If the changes are minor, the pattern is altered and then goes straight for grading into the full range.

HELPFUL RESOURCES

For designers looking to extend their size range, Alex from @adifferentstitch has a great resource which covers pretty much everything you need to consider. 

You can also see all the patterns currently available in our extended size range here in our new Skills Library!

As I wrote this, I realised your question had two parts to it - what our process was for extending our size range, as well as where to find resources about drafting patterns for larger sizes. This week I’ve covered our process and in the next Q&A instalment I’ll give you some tips on drafting patterns for larger sizes.

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• Opportunity Knocks: Tips for Inclusive Patterns by Alex of Fat Sewing Club - read the post here, and follow Alex on Instagram here.

• View all In the Folds patterns currently in available in our extended size range in our new Skills Library here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Acton dress made by @jbaysews

Peppermint wrap top made by @sewizza

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MORE POSTS IN THE SERIES

ISSUE 147 - TIPS FOR SEWING KNIT NECKLINES

THE Q & A SERIES

TIPS FOR SEWING KNIT NECKLINES

I am having trouble getting a nice smooth neckband when sewing knit tops. In my first attempt, I cut the neck band the recommended length, but found I could not avoid some  puckering at the front of the top. The next time, I cut the band longer. This mostly avoided the puckering, but my neckband stood up instead of lying flat. In both cases I used a fairly firm knit and cut the neckband from the same fabric, but on the bias, as per the pattern instructions.

Any tips most gratefully received!

Karen

Melbourne, Australia

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Hi Karen,

These days, so much of our wardrobe contains garments made from stretch fabric so, sewing with knits is a skill that we’d all love to add to our kit, but many are afraid to try. We were keen to knock this fear on the head with our two-part Sewing Knits series as part of our Curated by ITF subscription, and from the feedback we’ve been getting, I think we’ve succeeded!

Samplers are a great way to learn a new skill and this is the approach we’ve used in part one of the series, the Sewing Knits Skills Kit. Not only does it provide a low-pressure method of tackling a new technique (you can happily practice and make mistakes because you’re not going to wear it!), it’s also low-cost because you can just use fabric scraps you already have in your stash.

The second part of the series, the Kealy T-shirt, is a the perfect next-step pattern. It’s a classic design that allows you to start applying the new skills you’ve learnt, but doesn’t require you to combine them with tricky techniques. Plus, it’s a quick sew, and you can make a few shirts in one sitting which gives you even more opportunity to practice!

But, moving on to your question…

To start with, I am curious about the pattern suggesting you cut the neckband on the bias.

CUT NECKLINES ON THE STRAIGHT GRAIN, NOT BIAS

When it comes to knits, we normally cut the neckband on the straight grain. When sewing woven fabrics and finishing a neckline with bias binding, we cut on the bias. This gives the woven fabric a slight stretch and helps it fit around curves and press nice and flat.

So to start, I’d suggest confirming this aspect of the instructions and consider cutting the neckband on the straight grain instead. 

USE A NECKLINE RATIO

Often patterns call for you to ‘quarter the neckband’ on a stretch pattern for ease of explaining the instructions.

However, because the front neckline is longer than the back, this means the front is stretched more, making the neckband uneven. In the Folds patterns always have notches to distribute the stretch evenly, but if you don't have these notches you can calculate the ratio following these instructions.

Measure your pattern

Record the following measurements of your pattern. Remember to double any measurements which are cut on the fold, and measure the STITCH LINE (the pattern without seam allowance), not the CUT EDGE.

A - Front neckline =
B - Back neckline =
C - Total neckline measurement (A+B) =
D - Total neck ribbing / neckband measurement =

Divide the total neck ribbing (D) by the total neckline measurement (C) to find the ratio.

E - D/C = ratio of neckline = 

E.g. 44/54 = 0.81 ratio.

Then use the ratio (E) and apply it to the front and back neckline (A and B). Once you have these measurements you can mark the notches onto the pattern. Remember to halve the measurements to find the CENTRE FRONT and CENTRE BACK of the neckband / ribbing.

Front ribbing / neckband - Front neckline (A) x ratio (E) =
Back ribbing / neckband - Back neckline (B) x ratio (E) =

Tips for making neck ribbing

If you're creating your own neck ribbing pattern or you need to adapt a pattern to suit your fabric, you can choose the ratio that works best for you. Here are some tips to get you started:

• Always toile the new neck ribbing pattern in the right fabric before sewing the final garment.

• You'll notice when using a self fabric (the same jersey as the body of the T-shirt) as a neck band that it has less stretch than a separate ribbing fabric. Ribbing fabric has raised vertical lines.

• The more stretch the ribbing has, the shorter the neckband should be.

• A good place to start for a regular crew neck T-shirt and self fabric is to make the neckband pattern around 80% of the neckline measurement. Self fabric won't stretch as much and won't lie as flat as a separate ribbing fabric.

• It is often a balancing act between getting the neckband to sit flat to the body and not stretching too much that it causes the neckline to gather. Sew a test and tweak the ratio by a few % if necessary until you're happy with the fit.

• A good place to start for a regular crew neck T-shirt and ribbing fabric is to make the neckband pattern around 70-75% of the neckline measurement.

• Stretchier ribbing may go below 70%, but if it is stretched out too much, it may create gathers around the neckline.

• The narrower the neckband, the more likely it is to lie flat. We recommend using 2cm (3/4in) width for self fabric and 2.5cm (1in) for ribbing fabric. These are finished widths, so don't forget to double them and add seam allowance when making your pattern.

PRESS, PRESS, PRESS!

The final thing we want to say is, don’t underestimate the power of steaming (with an iron) when you are sewing a neckband (or anything else for that matter)!

Don't worry if the neckline looks wrinkled after attaching the neckband/ribbing, as long as there are no pleats or puckering. You can see in our example how it completely transformed after pressing.

Using a pressing ham helps a lot when pressing curves like this.

I hope this tutorial helps you achieve a neckband you are happy with!

If you’d like to learn more skills related to sewing knits, we suggest you checkout this month’s issue of Curated - the Kealy T-shirt, along with last month’s issue - Sewing Knits Skills Kit, which you can purchase separately after you sign up.

Happy sewing,

Alys

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RESOURCES MENTIONED IN THIS ISSUE

• The two-part Sewing Knits series includes the Sewing Knits Skills Kit and the Kealy T-shirt pattern, which are available with a Curated by ITF subscription. The Kealy T-shirt pattern is the April project and can be purchased here. The Sewing Knits Skills Kit can be purchased here by current subscribers only. More information about the subscription can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Peppermint Wrap skirt made by @whatkatmakes

Acton dress made by @jsmacey

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ISSUE 146 - EMILY’S MATERNITY WEAR SUGGESTIONS

THE Q & A SERIES

emily’s maternity wear suggestions

Hi Emily,

I’d like to know if you have any suggestions about how to adjust patterns for maternity wear?

Thanks,

Ivy

Walsall, UK

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Hi Ivy,

This is great timing to receive this question as I have recently had a baby!

Maternity clothing has been a new part of my life since pregnancy last year and the arrival of bub in December. And, I’d love to say I sewed up a beautiful maternity wardrobe to get me through pregnancy and the postpartum months, but the reality was that I was very unwell throughout the first trimester and had very little energy to do anything.

When I was lucky enough to get a boost of energy in my second trimester, the reality (and panic) of running a small business and needing to take time off to have a baby set in and I spent the rest of the pregnancy preparing the business for taking time off.

I wear a lot of loose-style garments and had just hoped I could get through without buying or making anything. I didn’t like the idea of having clothing that was only useful for a specific purpose and then would no longer be needed. But, it turned out that I was a bit naive, and definitely needed some maternity-specific clothing as my bump got bigger, so this is something I can definitely shed some light on now.

MY FAVOURITE MATERNITY WEAR GARMENTS

Maternity jeans

I love wearing jeans and found that I was uncomfortable around the waist early on in pregnancy, particularly because I normally wear high waisted jeans. I bought a pair of maternity jeans and I loved them. They really got me through and I wore them for the majority of my pregnancy and continued to wear them for a few weeks postpartum while everything was still very tender.

If you are up for making some jeans or maternity pants, I think you could definitely give it a go with a pants or jeans patterns you already have. The key is to add the seam for the stretch band very low. I was surprised when my maternity jeans arrived how low the seam is where the jeans join to the jersey waistband. But this was exactly what I needed with my growing bump.

The pair I bought had the front pockets lowered so that they were under the bump band, but if I were to make some I would just leave off the front pockets. To me they were a bit awkwardly placed as they were so low down, so I didn’t really use them and they didn't look great. I did use the back pockets though.

I bought my jeans early on and the bump band was too big, so I took in the sides of the stretch sections with a zig-zag stitch and then let them out as I needed to throughout the pregnancy. If I were to make my own, I’d do the same thing. Make the waist section with plenty of space and then just adjust it as you go, as you don’t know how big your bump will get.

This is a bonus of being able to adjust your clothes! I recommend using a jersey fabric that has good retention so they sit nice and firm and don’t slip down. I think you could definitely make some maternity pants from an elastic waist pant pattern too - and they would potentially be a bit cooler for the summer months. I also think you could use the same concept for a skirt - basically just an elastic waist skirt but with a big belly band at the top. 

I know some people like wearing clothes under their bumps, but I found it much more comfortable wearing things over, as the things that go under just slipped down constantly. This tutorial from Hey June Handmade gives you an idea of how to go about sewing a maternity band on pants or skirts.

Overalls

The other thing I wore a heap was overalls. I bought a style that was quite large in the waist and they got me through most of my pregnancy. This is something you could make - just be sure to choose a loose fitting style. I made sure mine were big enough to wear while pregnant, but also something I could happily wear post pregnancy.

The In the Folds Collins top

As for tops, I have a lot of baggy / billowy tops that worked well with jeans and hid my bump until I was well into the second trimester. I've got a number of Collins tops that were in heavy rotation until they became a little short in the front. But even then, they still worked with something high-waisted and adjustable underneath (like the Wrap skirt that I wore a lot).

This style of loose-fitting top is still working well postpartum as they can easily be lifted for breastfeeding. I normally wear something high waisted underneath, so it doesn’t feel like I’m revealing too much skin and the loose fabric provides some cover. If you’re not comfortable showing this much skin, the other option is to wear a nursing singlet or camisole underneath that allows you to wear any top you like and when you lift it up you have the singlet underneath for coverage.

Loose-fitting dresses

I'd say the other thing to think about might be some loose fitting dresses. I had a few in my wardrobe that got me through the whole pregnancy. By the end it was the jersey ones (like the one above!) I was reaching for most as they comfortably fit over my bump and didn’t restrict movement. Unfortunately though, none of these dresses have centre front openings so they’re out of rotation now that I’m breastfeeding.

If I were to sew some dresses for this period, I’d definitely add a centre front placket so that it could be worn postpartum if you choose to breastfeed. Adding a centre front button closure to the Everyday dress pattern would work well.

I didn’t go out a whole lot during pregnancy, but when I did, it was good to have a couple of things that I knew fit and made me feel somewhat put together! One of these was an Acton dress with sleeves, that you can see me wearing here when I was about 36 weeks pregnant.

Loungewear

Another one of our patterns that would work really well throughout pregnancy and beyond is the Gibson loungewear set. I actually designed this pattern early on in my pregnancy as it was what I imagined I’d be wanting to swan around in when the baby arrived in December (Summer in Australia). But let’s be real, there was no swanning in December. Don’t get me wrong - life was completely magical as my partner and I adjusted to life with a baby, but also completely chaotic!

Now that things have calmed down somewhat, this is exactly the kind of thing I’ve been reaching for, even four months in. I’m still in no rush to put on pants with a fitted waistband, so anything with elastic has been my go-to. The dress and pants views in this pattern make it a versatile maternity wear option!

Robes

Another thing that was in heavy rotation in the early months with bub was my Whitlow robe. As I got the hang of breastfeeding, it was easier not to put a top on and I basically lived in robes (this was possible because it was so warm!). It was also handy to wear in hospital and to throw on when getting up throughout the night for feeds. 

I hope this has been helpful.

It is such a strange time to plan clothes for as everything is changing so fast, but my biggest tip would be to have a few go-to items you can grab and feel good in, and don’t worry too much about wearing the same thing over and over again!

Choose fabrics that launder well and if they don’t need to be ironed, that’s a plus too. Life with a newborn doesn’t leave much time or space for ironing clothes!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Collins top pattern can be found here.

• The Acton dress pattern and sleeve expansion bundle can be found here.

• The Whitlow robe pattern can be found here.

• The Gibson Loungewear set pattern is available as an additional purchase through our Curated by ITF subscription. More information can be found here.

• The Everyday dress pattern is a free pattern and can be found here.

• The Jersey dress pattern is a free pattern and can be found here.

• The Wrap skirt pattern is a free pattern and can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Everyday dress made by @popscansew

Hove jacket made by @theladywholunches

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ISSUE 145 - SEWING KNITS: INDUSTRIAL VS DOMESTIC TECHNIQUES

THE Q & A SERIES

SEWING KNITS: INDUSTRIAL VS DOMESTIC TECHNIQUES

Hi Emily,

How do I achieve the techniques I find in my RTW knits while sewing at home?

Thanks,

Rosa

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Hi Rosa,

One thing many sewists strive for is to learn how to make their homemade garments look as finished as ready-to-wear. (Well, not all ready-to-wear, we have to admit… but you know what we mean!) We’re not embarrassed to admit that you can often find us turning a store-bought garment inside out to figure out how a particular finish was achieved!

So, we think it’s a great idea to look in your wardrobe for inspiration!

One of the best ways to learn about different seam finishes and construction techniques is by looking at ready-to-wear garments in your wardrobe or a shop, and taking photos for future reference if you see a finish you like.

This month in Curated by ITF, we’re looking at all the techniques you need for sewing knits at home on a domestic sewing machine.

In industry, they use specialist machines to achieve some of these techniques and of course, it’s unlikely you’ll have access to those kinds of machines, but that doesn’t mean you can’t get the same finish (or at least similar) at home!

Read on to find out about two industry techniques that we like, and we’ll show you how to mimic these techniques while sewing at home on a budget!

Sewing knit seams

In industry, stretch seams are sewn on an overlocker. Four threads are used to maintain the stretch of the garment, with a 6mm (1/4in) seam allowance.

At home, on a regular sewing machine we usually sew a stretch stitch (on some machines, this is called lightening bolt stitch or triple stitch) or a narrow zig-zag stitch, with a 1cm (3/8in) seam allowance. We then finish the edges with a zig-zag stitch, overlocker or an edge foot.

If you have an overlocker, you can, of course, sew the seams directly on the overlocker. However, you must change the seam allowance to 6mm (1/4in) and use four threads to stitch the seam, rather than three.

It’s important to make a sample first, and pull the seam to ensure the overlocker has the correct tension and the seams will hold as they stretch on and off your body.

Hemming Knits

In industry, an industrial coverstitch machine is used to sew the hems of a stretch garment.

At home, we use a twin needle to provide a double row of stitching on the front and a zigzag stitch on the back. You can also choose to overlock the hem first, but this is not necessary as knit fabrics don’t tend to fray. In this month’s Curated by ITF Issue we encourage you to make two samplers to test these techniques so you can decide what works best for you and the fabric you’re working with.

This simple, but effective knit fabric finishing technique saves home sewists both money and space! A stretch twin needle costs around $8 AUD, whereas a domestic coverstitch machine ranges between $1200 - $2000 AUD! (Of course, if you’ve got the budget and the storage space, feel free to invest if you think you’ll get the benefit of it.)

Take a look in your wardrobe

You might find it interesting to see how your RTW garments differ from home sewing approaches. But you shouldn’t feel like you need to invest in expensive technology to be able to achieve it at home. With the right guidance and techniques, we’re certain you'll be pleasantly surprised by the amazing results you can create at home on a domestic machine!

If you’d like to learn more about sewing knits, we’d like to invite you to join us in Curated by ITF this month. We think it’s high time sewists kicked the fear of stretch fabric to the curb and we’re here to help you do just that with a two-part knit fabric series!

This month we’re working through all the knit fabric skills and techniques you need to know to confidently sew stretch on a regular sewing machine, including machine settings, tools, stitch types and more.

Then we’re applying this information through the use of samplers. This is a learning approach that we love to use at In the Folds as it gives you the opportunity to practise and fine-tune skills before applying them to a wearable garment.

Once you’ve worked through the content for the month you’ll be ready to kick on to part two - a T-shirt pattern that we know will become a go-to in your wardrobe and sewing regime!

Happy sewing,

Alys

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RESOURCES MENTIONED IN THIS ISSUE

• The first in a two-part stretch fabric series, the Sewing Knits Skills Kit is currently available with a Curated by ITF subscription for the month of March 2023. More information can be found here.

• Stay tuned for next month’s knit T-shirt pattern!

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Acton dress made by @stitchedbycaitlin

Peppermint Wide Leg pants made by @pamalamadingdong

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MORE POSTS IN THE SERIES

ISSUE 144 - HOW TO CUT KNIT FABRIC

THE Q & A SERIES

TIPS FOR CUTTING KNIT FABRIC

Hi Emily,

I’m struggling to cut knit fabrics. Whenever I cut them out and unpin the pattern pieces, they appear smaller than the pattern! Do you have any tips to help me cut more accurately?

Thanks,

Mel

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Hi Mel,

This is actually a really common problem, so I’m glad you asked the question!

This month in our Curated by ITF sewing subscription we’re learning all about how to sew with stretch fabric with our Sewing Knits Skills Kit.

It can be really tricky to cut knit fabric because it often stretches as you pin and cut, meaning the pieces become the wrong size. Just another reason people find sewing with knits a bit frustrating!

I’ve got a few simple tips that will help ease the process and allow you to cut your stretch fabric accurately.

Before you start

Prewash your fabric

When making garments you should always wash and dry your fabric before starting. This is no different for stretch fabric.

I recommend that you use the same method you intend to use when washing your garment after wearing so it doesn’t shrink after the first wash. If you wash in cold water only, then prewash in cold water. If you wash in warm water, then prewash in warm water.

Press your fabric

After you’ve washed and dried your fabric, give it a good press. Take care not to overstretch the fabric while doing this.

If you find that the edges of the fabric are rolling, now is a great time to use some starch spray. This helps to stabilise the fabric and washes out after sewing. And you’ll actually find this helps while sewing the pieces together, as well as when cutting.

Use the right tools

Pinning and cutting with scissors is often what makes the pieces smaller or misshapen.

Instead, use a rotary cutter, weights and a cutting mat. These tools help with accuracy because they stop the fabric from pulling as you cut, which happens as you pin and cut with scissors.

This is a great chance to make the pattern weights from Issue 17 of Curated by ITF!

Cutting technique

Check the grainline

Ensuring your pattern piece is on grain will also help with cutting your knit fabrics accurately.

To do this, take your pattern pieces and lay them on your fabric with the grainline of each pattern piece running exactly parallel to the selvedge.

Use a tape measure to measure from each end of the grainline mark on your pattern piece to the selvedge. Adjust the pattern piece until the measurement is the same from both ends of the grainline mark.

Use the pattern’s cutting plan as a guide to lay out your pieces.

Cut the fabric flat

If a pattern piece says ‘CUT 1 ON FOLD,’ it means to align the pattern piece's fold line with the fabric's fold so that you will be left with a full pattern piece once cut. However, we recommend cutting knit pieces flat rather than on the fold.

To do this, trace both sides of the pattern so that you have a full pattern piece, and then use this to cut your knit fabric.

If you want to cut the pieces on the fold, take particular care not to stretch the fabric. It may help to cut the fabric into smaller pieces to stop this from happening.

Take care when cutting notches

Instead of using scissors or a rotary cutter to cut notches, cut them with snips. Take care not to cut too deep, as the seam allowance on stretch patterns is often smaller than on wovens.

Alternatively, mark notches with chalk to avoid the possibility of creating a run in the knit fabric.

Learn more knit skills with us!

Knit fabric has become such a large part of our everyday life, and yet it’s a textile that many sewists find a bit overwhelming. That’s why we created the Sewing Knits Skills Kit. The first in a two-part knit fabric series, we’re using samplers to learn everything we need to know to sew stretch patterns on a regular sewing machine so we can put our new skills into practice with part two in the series, our T-shirt pattern.

There’s so much to learn that will make it much easier to sew with this tricky (but oh so comfy!) fabric. I hope you can join us!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Pattern weights tutorial is part of Issue 17 of Curated by ITF and is only available for purchase by current members at this time.

• The Sewing Knits Skills Kit is currently available with a Curated by ITF subscription for the month of March 2023. More information can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Peppermint Wrap skirt made by @liv_sews

Pattern weights made by @jimpaxmax

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MORE POSTS IN THE SERIES